DOCSLIB.ORG

From Classical to Fusion: Changes in Hindustani Sitar Music in Malaysia As Exemplified in the Works of Orm Maheswaran and Samuel J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
From Classical to Fusion: Changes in Hindustani Sitar Music in Malaysia As Exemplified in the Works of Orm Maheswaran and Samuel J FROM CLASSICAL TO FUSION: CHANGES IN HINDUSTANI SITAR MUSIC IN MALAYSIA AS EXEMPLIFIED IN THE WORKS OF ORM MAHESWARAN AND SAMUEL J. DASS PRAVINA A/P MANOHARAN UNIVERSITY SAINS MALAYSIA 2008 FROM CLASSICAL TO FUSION: CHANGES IN HINDUSTANI SITAR MUSIC IN MALAYSIA AS EXEMPLIFIED IN THE WORKS OF ORM MAHESWARAN AND SAMUEL J. DASS by PRAVINA A/P MANOHARAN Thesis submitted in fulfillment of the requirements for the degree of Master of Arts MAY 2008 ACKNOWLEDGEMENTS First and foremost my humble prostrations at the lotus feet of Bhagavan for without him this thesis would never have been completed. I would like to extend my warmest gratitude to a number of people who have been very instrumental in helping me complete this thesis. My parents have been the pillar of support for me throughout these years. I thank them from the bottom of my heart for believing in me and encouraging me all the way. Eric Bryan played a very important role in the early stages of my writing. Thank you for being my chief editor. Thank you aunty Arul for helping me proof read my thesis. Most importantly, I must thank Mr. Orm Maheswaran and Mr. Samuel J. Dass for graciously welcoming me into their homes and sharing every bit of knowledge they have on the Sitar and its music. Their knowledge in the fiend of Hindustani Sitar Music is immeasurable. They were more than helpful and ever willing to answer any question I had on the Sitar and its music. My knowledge of Raags and the Hindustani musical system has deepened greatly thanks to them. Finally my deepest gratitude to my supervisor Professor Tan for guiding me throughout this journey. She has been a source of inspiration for me throughout the process of my writing. She has also been most helpful in assisting me to improve my writing style. Finally thank you to one and all. ii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ii TABLE OF CONTENTS iii LIST OF TABLES vii LIST OF FIGURES vii LIST OF PLATES x LIST OF TRACKS xi LIST OF SYMBOLS xiii ABSTRAK xiv ABSTRACT xvi CHAPTER ONE : INTRODUCTION 1 1.0 Introduction 1 1.1 Research Focus 2 1.2 Literature Review 6 1.2.1 Indian Music 6 1.2.2 Hindustani Music in India 11 1.2.3 Hindustani Instrumental Music in India 13 1.2.4 Fusion Music 16 1.2.4.1 Review of Books and Articles that define Fusion 17 Music 1.2.4.2 The Debate between the Elders (Purists) and 19 Younger Generation (Fusion musicians). 1.3 Methodology 26 1.4 Theoretical Approach 29 1.5 Organization of Thesis 33 CHAPTER TWO : THE CLASSICAL SITAR 37 2.0 Introduction 37 iii 2.1 History and Development 38 2.2 Construction of the Sitar 41 2.3 Gharana 48 2.4 Tuning the Sitar 52 2.4.1 Indian Classical Tuning System 54 2.4.2 Vilayat Khan Tuning Method 56 2.4.3 Ravi Shankar Tuning Method 61 2.5 Playing Style 64 2.5.1 The playing style of Vilayat Khan 65 2.5.2 The playing style of Ravi Shankar 67 2.6 Playing Technique 70 2.6.1 Ornaments or Alankara 74 2.7 Summary 77 CHAPTER THREE: THE MODERN SITAR 79 3.0 Introduction 79 3.1 The Development of Indian Music in Malaysia 80 3.2 The Development of Hindustani Music in Malaysia 81 3.3 The Development of the Sitar in Malaysia 83 3.3.1 Orm Maheswaran 87 Contributions 89 3.3.2 From Classical to Fusion: The Transition 91 3.3.3 Samuel J. Dass 93 Contributions 96 3.3.4 Inner Space (TFA) 102 3.4 Modern Sitar Tuning 103 3.5 Playing Style 108 3.6 Playing Technique 109 3.7 Summary 113 iv CHAPTER FOUR: RAAG AND TAAL; 117 THE SOUL OF HINDUSTANI MUSIC 4.0 Introduction 117 4.1 The Scale 118 4.1.1 Notation 122 4.2 Raag 123 4.3 Taal 131 4.4 Classical Sitar Performance 139 4.4.1 Alap 139 4.4.2 Jod 142 4.4.3 Jhala 144 4.4.4 Gat 146 4.5 Summary 151 CHAPTER FIVE: CHANGES IN HINDUSTANI MUSICAL ELEMENTS: 154 RAAG AND TAAL 5.0 Introduction 154 5.1 Raag 155 5.1.1 Example 1 156 i Characteristics of Raags Bhairavi, Malkauns and 156 Nandkauns. ii Analysis of the three classical Raags in the fusion piece 158 Life Breath 5.1.2 Example 2 161 i Characteristics of Raags Bageshri and Pahadi 161 ii Analysis of Raag Bageshri in the fusion piece Vibrations 163 5.1.3 Example 3 165 i Characteristics of Raag Bhairagi Bhairav 166 ii Analysis of Raag Bhairagi Bhairav in the fusion piece 166 Prana Express 5.1.4 Example 4 168 i Characteristics of Raag Bhupali 168 ii Analysis of Raag Bhupali in the fusion piece Chinese Song 169 v 5.2 Taal 172 5.2.1 Example 1 172 5.2.2 Example 2 174 5.2.3 Example 3 176 5.2.4 Example 4 177 5.3 Summary 180 CHAPTER SIX: CHANGES IN HINDUSTANI MUSICAL FORMS: 186 ALAP, GAT, SAWAL JAWAB, TIHAI AND TIRMANAM 6.0 Introduction 186 6.1 Alap 187 6.1.1 Characteristics of a classical alap 188 6.1.2 Example 1 191 6.1.3 Example 2 193 6.2 Gat 194 6.2.1 Characteristics of a classical gat 195 6.2.2 Example 1 197 6.2.3 Example 2 199 6.2.4 Example 3 201 6.2.5 Example 4 204 6.3 Sawal Jawab 207 6.3.1 Characteristics of a classical sawal jawab 208 6.3.2 Example 1 209 6.4 Tihai and Tirmanam 211 6.4.1 Characteristics of a classical tihai 211 6.4.2 Example 1 213 6.4.3 Example 2 214 6.5 Summary 216 CHAPTER SEVEN: CONCLUSION 221 7.0 Summary of Chapters 221 7.1 The Past, The Present & The Future 230 vi LIST OF TABLES Page 4.1 Five Most Important Rules and Characteristics of a Raag 131 Comparison in the characteristics of the musical elements in 184 classical compositions and fusion compositions. Comparison in the characteristics of the musical forms in 218 classical compositions and fusion compositions. LIST OF FIGURES 2.1 Vilayat Khan’s Tuning Method based on Western Notation. 58 2.2 Vilayat Khan’s Tuning Method of the main strings for Raag 59 Kafi 2.3 Ravi Shankar’s Tuning Method based on Western Notation. 63 2.4 Tarab String tuning based on Raag Bilaval. 64 3.1 Ravi Shankar tuning method of the main strings employed by 88 Orm Maheshwaran. 3.2 Vilayat Khan tuning method of the main strings employed by 96 Samuel Dass. 3.3 Tuning of the tarab strings based on the chromatic scale. 106 3.4 Tuning of the tarab strings for the piece Funky Indians. 106 3.5 Tuning of the tarab strings for the piece Damascus 107 3.6 Meend and gamak for the piece Vibrations by Samuel Dass 112 3.7 Gamakas employed by Dass in the solo section for Prana 112 Express 4.1 The twelve swarastanas of the Hindustani scale. 118 4.2 The Saptak of Hindustani music with Western and Hindustani 119 notation 4.3 The seven swaras that fall within the twenty-two shrutis. 121 vii 4.4 Significance of each note in Raag Yaman 126 4.5 Excerpt of a gat for Raag Yaman. 126 4.6 Pakad for Raag Bhairav by Kumar Karthigesu 128 4.7 The structure of a Teen Taal represented by a circle 133 4.8 Notation for Teen Taal. 133 4.9 Theka for Teen Taal. 136 4.10 Matra division for Keherwa Taal 136 4.11 Hand movement Adi Tala 137 4.12 Scale for Raag Basant Mukhari 141 4.13 Alap for Raag Basant Mukhari 141 4.14 Jod section for Raag Basant Mukhari 143 4.15 Jhala section for Raag Basant Mukhari 144 4.16 Rhythm pattern played on the chikari strings for the jhala 145 section 4.17 Gat in Raag Basant Mukhari 148 5.1 Scale for Raag Bhairavi 157 5.2 Scale for Raag Malkauns 157 5.3 Scale for Raag Nandkauns 158 5.4 Excerpt from fusion piece Life Breath by Samuel Dass. 158 5.5 Scale for Raag Bageshri 161 5.6 Scale for Raag Pahadi 162 5.7 Excerpt from fusion piece Vibrations by Samuel Dass 163 5.8 Scale for Raag Bhairagi Bhairav 166 5.9 Pakad for Raag Bhairagi Bhairav 166 5.10 Excerpt from the first Sitar solo section in Prana Express by 167 Samuel Dass viii 5.11 Scale of Raag Bhupali 168 5.12 Pakad for Raag Bhupali 168 5.13 Chinese Song by Samuel Dass 169 5.14 Bossa Novan Rhythm 173 5.15 Tabla Bols for Bombay Bossa Nova by Prakash Kandasamy 173 5.16 Masri Rhythm 175 5.17 Keherwa Taal 176 5.18 Basic theka for Keherwa Taal 177 6.1 Alap for Raag Bhairavi by Orm Maheswaran 188 6.2 Introduction section of Life Breath by Samuel Dass 191 6.3 Introduction section of Vibrations by Samuel Dass 193 6.4 Short Gat in Raag Bhairagi Bhairav by Samuel Dass 196 6.5 Sitar solo for Prana Express by Samuel Dass 198 6.6 Second Sitar solo section from Life Breath by Samuel Dass 199 6.7 Maqam Hisar 201 6.8 Scale for Raag Simhendramadhyamam 202 6.9 Scale for Raag Shanmukhapriya 202 6.10 Sitar solo for Damascus by Samuel Dass 202 6.11 Scale of Raag Chalanata 204 6.12 Sitar solo for Brickfields Blues by Samuel Dass 205 6.13 Structure of a classical sawal jawab by Samuel Dass and 208 Prakash Kandasamy.
Load more

Recommended publications
  • Terminology of Art Music in Ottoman Turkish and Modern Turkish Lexicography (19Th-21St Century)
    TERMINOLOGY OF ART MUSIC IN OTTOMAN TURKISH AND MODERN TURKISH LEXICOGRAPHY (19TH-21ST CENTURY). Agata Pawlina Jagiellonian University Abstract In this paper the author presents preliminary conclusions concerning changes in forms (in respect of orthography and morphology) and semantics of musical terms in Ottoman Turkish and modern Turkish lexicography. Selected dictionaries (including mono- and bilingual, general and specialized ones) from the period between the 19th and 21st century had been analyzed. This period of time is particularly interesting for establishing how a) Turkish lexicographic works reflect the Westernization of high- culture music of the late Ottoman Empire and the young Republic of Turkey and b) differences between art music of the Ottoman and European traditions are perceived nowadays. By presenting a terminological analysis of words considered to be not only basic musicological terms but also a part of natural language (‘singer’, ‘piano’, ‘kanun’) the author unveils some of the issues associated with the translation of Turkish musical terms into European languages and vice-versa. Those problems arise from the duality and hybridity which exist in contemporary Turkish musical culture. Its older part, the so-called classical/traditional art music (tur. Türk sanat müziği or Osmanlı/Türk klasik müziği) emerged at the turn of the 17th century, as a part of a Middle Eastern art musical tradition. Later on, during modernizing efforts conducted in the declining Ottoman Empire in the 19th century, European art music had been incorporated along with its international, translingual terminology. As a result of such duality, interesting phenomena are being observed in modern Turkish vocabulary concerning art music.
    [Show full text]
  • Music: the Case of Afghanistan by JOHN BAILY
    from Popular Music 1, CambridgeUniversity Press 1981 Cross -cultural perspectives in popular music: the case of Afghanistan by JOHN BAILY The problem of definition It is inevitable that the first issue of this yearbook will raise questions about the use of the term 'popular music'. I do not believe that this question is going to be easy to answer and, as a precaution, I think we should regard quick and seemingly clearcut solutions with suspicion. In fact, we may eventually have to operate with intuitive, poorly defined and rather elastic definitions of popular music. Before we resort to that expedient, however, the problem of definition must be considered and discussed from various points of view. The editors have offered the following two definitions (the number- ing is mine): (1)From one point of view 'popular music' exists in any stratified society. It is seen as the music of the mass of the people ... as against that of an élite. (2) From another point of view there is at the very least a significant qualita- tive change, both in the meaning which is felt to attach to the term and in the processes to which the music owes its life, when a society undergoes indus- trialisation. From this point of view popular music is typical of societies with a relatively highly developed division of labour and a clear distinction between producers and consumers, in which cultural products are created largely by professionals, sold in a mass market and reproduced through mass media. (P. i above) The first of these definitions is very general, the second very specific.
    [Show full text]
  • Reading the Meaning of Mother in Your Mother Song Lyrics
    READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTIC OF POETRY ANALYSIS A GRADUATING PAPER Submitted in Partial Fulfillment of the Requirements for Gaining the Bachelor Degree in English Literature By: NAJIB NUGROHO 16150047 ENGLISH DEPARTMENT FACULTY OF ADAB AND CULTURAL SCIENCES STATE ISLAMIC UNIVERSITY SUNAN KALIJAGA YOGYAKARTA 2020 ii iii KEMENTERIAN AGAMA UNIVERSITAS ISLAM NEGERI SUNAN KALIJAGA FAKULTAS ADAB DAN ILMU BUDAYA Jl. MarsdaAdisucipto Yogyakarta 55281 Telp./Fak. (0274)513949 Web: http://adab.uin-suka.ac.id E-mail : [email protected] NOTA DINAS Hal : Skripsi a.n. Najib Nugroho Yth. Dekan Fakultas Adab dan Ilmu Budaya UIN Sunan Kalijaga di Yogyakarta Assalamu’alaikum Wr. Wb. Setelah memeriksa, meneliti, dan memberikan arahan untuk perbaikan atas skripsi saudara: Nama : NAJIB NUGROHO NIM : 16150047 Prodi : Sastra Inggris Fakultas : Adab dan Ilmu Budaya Judul: READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS Saya menyatakan bahwa skripsi tersebut sudah dapat diajukan pada sidang Munaqosah untuk memenuhi sebagian syarat memperoleh gelar Sarjana Sastra Inggris. Atas perhatian yang diberikan, saya ucapkan terimakasih. Wassalamu’alaikum Wr.Wb. Yogyakarta, 25 Juni 2020 Pembimbing, Ulyati Retno Sari, S.S. M.Hum. NIP. 19771115 200501 2 002 iv READING THE MEANING OF MOTHER IN YOUR MOTHER SONG LYRICS: A SEMIOTICS OF POETRY ANALYSIS By: Najib Nugroho Abstract Your Mother song teaches how to respect to mothers. This theme is important to discuss because respecting a mother must be done by any children. This song is interesting to be analyzed because this song directly quotes the hadith of the prophet Muhammad SAW.
    [Show full text]
  • The Moldavian Composer V. Rotaru and His Chamber- Instrumental Work
    İNÖNÜ ÜNİVERSİTESİ KÜLTÜR VE SANAT DERGİSİ İnönü University Journal of Culture and Art Cilt/Vol. 5 Sayı/No. 1 (2019): 41-51 THE MOLDAVIAN COMPOSER V. ROTARU AND HIS CHAMBER- INSTRUMENTAL WORK. Natalia Djalilova*1 *Academy of Music, Theatre and Fine Arts, Chishinau, Republic of Moldova Summary This article analyzes the piano Trio INO-3 V. Rotaru, its significance in the author's work, the basic style, the harmonic, rhythmic and inerprtative aspects. The connection with neo-folklore direction in music and traditional genres in Moldovan folk music is revealed, the synthesis of traditional folklore with modern composition techniques. This article assumes to define first of all value of the considered Trio INO-3 in the context of all area of chamber-instrumental music of V. Rotaru, as the last composition of the composer in this genre sphere. The article also focuses on the neo-folklore features of the composer's style and their harmonious combination with the classical traditions typical of the trio of Russian and Western European composers. As for the classical traditions, the Trio is a three-part cycle with a characteristic tempo dramaturgy: I. Moderato II. Lento e molto lamento III. Allegro moderato Since this Trio is the last in the cycle and was written shortly before the composer's death, the author's appeal to the genre of mourning Saraband in the middle part is of interest. As for the neo-folk style elements, they define the whole thematic, rhythmic and Lado - harmonic material of the composition. The article focuses on the Lado - harmonic features of all parts of the Trio, which are characteristic intonation formulas of Moldovan folklore: motives with II increased and decreased levels, motives with IV increased level, VI increased level, enriched with melismatics.
    [Show full text]
  • Yayını Görüntülemek Için Tıklayın
    Prof. Sir John Boardman Sir John Boardman’ın 90. Yaşı Onuruna In Honour of Sir John Boardman on the Occasion of his 90th Birthday TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi Turkish Academy of Sciences Journal of Archaeology Sayı: 20 Volume: 20 2017 TÜBA-AR TÜBA Arkeoloji (TÜBA-AR) Dergisi TÜBA-AR uluslararası hakemli bir TÜRKİYE BİLİMLER AKADEMİSİ ARKEOLOJİ DERGİSİ dergi olup TÜBİTAK ULAKBİM (SBVT) ve Avrupa İnsani Bilimler Referans TÜBA-AR, Türkiye Bilimler Akademisi (TÜBA) tarafından yıllık olarak yayın- İndeksi (ERIH PLUS) veritabanlarında lanan uluslararası hakemli bir dergidir. Derginin yayın politikası, kapsamı ve taranmaktadır. içeriği ile ilgili kararlar, Türkiye Bilimler Akademisi Konseyi tarafından belir- lenen Yayın Kurulu tarafından alınır. TÜBA Journal of Archaeology (TÜBA-AR) TÜBA-AR is an international refereed DERGİNİN KAPSAMI VE YAYIN İLKELERİ journal and indexed in the TUBİTAK ULAKBİM (SBVT) and The European TÜBA-AR dergisi ilke olarak, dönem ve coğrafi bölge sınırlaması olmadan Reference Index for the Humanities arkeoloji ve arkeoloji ile bağlantılı tüm alanlarda yapılan yeni araştırma, yo- and the Social Sciences (ERIH PLUS) databases. rum, değerlendirme ve yöntemleri kapsamaktadır. Dergi arkeoloji alanında yeni yapılan çalışmalara yer vermenin yanı sıra, bir bilim akademisi yayın organı Sahibi / Owner: olarak, arkeoloji ile bağlantılı olmak koşuluyla, sosyal bilimlerin tüm uzmanlık Türkiye Bilimler Akademisi adına Prof. Dr. Ahmet Cevat ACAR alanlarına açıktır; bu alanlarda gelişen yeni yorum, yaklaşım, analizlere yer veren (Başkan / President) bir forum oluşturma işlevini de yüklenmiştir. Sorumlu Yazı İşleri Müdürü Dergi, arkeoloji ile ilgili yeni açılımları kapsamlı olarak ele almak için belirli Managing Editor bir konuya odaklanmış yazıları “dosya” şeklinde kapsamına alabilir; bu amaçla Prof.
    [Show full text]
  • Uluslararası Bilimsel Araştırmalar Dergisi
    IBAD Sosyal Bilimler Dergisi IBAD Journal of Social Sciences IBAD, 2020; (6): 378-389 DOI: 10.21733/ibad.673158 Özgün Araştırma / Original Article Klasik Müzikte Boyutsal Seslendirmeler Prof. Dr. Cihan Işıkhan1* ÖZ Seste boyutsallık algıda şekillenen bir bileşen, bir oluşumdur. Ses kaynağı nerede olursa olsun, iki kulağın aralarındaki yüz engelli mesafesi ve buna bağlı olarak ortaya çıkan işitmedeki zamansal gecikme algıda boyutsallığı yaratır ve boyutsal Geliş tarihi: 10.01.2020 algılama, insanda ses kaynağı konumunun tespitini sağlar. Seste boyutsal Kabul tarihi: 29.01.2020 algılamanın günümüz müzik endüstrisinde bilinen karşılığı genelde teknolojiktir. Kaydedilen müzik mono’dan surround’a kadar çeşitli teknolojik yöntemlerle Atıf bilgisi: işlemden geçirilerek tüketiciye sunulur. Ses kayıt tarihinde bu süreç mono ile 378 IBAD Sosyal Bilimler Dergisi başlayarak günümüzde atmos’a kadar ulaşmıştır. Oysa doğal bir oluşum olan sesteki Sayı: 6 Sayfa: 378-389 boyutsallığın bugün herkes tarafından yukarıdaki terimlerle aranan teknolojik Yıl: 2020 Dönem: Kış halleri, bundan yüzlerce yıl önce batı müziği bağdarlarının bir kısmı tarafından dinleyiciye zaten sunulmaktaydı. 16. yüzyılda Giovanni Gabrieli’nin koroyu ikiye bölerek “cori spezzati” tekniğiyle sunduğu yaratılarında stereo tekniği yatmaktadır. Barok dönemde Vivaldi “per eco in lontano (uzaktaki yankı)” adlı Konçertosuyla This article was checked by Turnitin. ilk surround seslendirme örneklerini sunmuştur. Klasik dönemde Haydn ve Mozart, Similarity Index 04% Romantik dönemde Berlioz ve
    [Show full text]
  • THE UC DAVIS DEPARTMENT of MUSIC PRESENTS the UC Davis
    THE UC DAVIS DEPARTMENT OF MUSIC PRESENTS THE UC Davis Gamelan Ensemble Henry Spiller, director ‐‐‐ PROGRAM Jipang Lontang trad. Galatik Mangut A. Idi Jeruk Bali Djai Ladrak trad. Lutung Bingung A. Absar Kunang‐kunang ("Oray‐orayan") trad. ‐‐‐ 12:05 pm, Tuesday, 2 March 2010 Room 115, Music Building [INSERT STANDARD “QUIET” TEXT.] This performance is made possible in part by the generous support from the Joy S. Shinkoskey Series of Noon Concerts endowment. NOTES Introduction: Indonesia is a nation with 13,000 islands (of which a few thousand are populated), the fourth largest population in the world, and hundreds of ethnic groups and languages. Indonesia's second largest ethnic group is the Sundanese; approximately 30 million Sundanese speakers dominate the modern province of West Java. Sundanese people look back to the medieval West Javanese kingdom of Pajajaran (1333–1579) as a homeland and for the roots of Sundanese culture. Stories and cultural images have developed a romanticized vision of Pajajaran as a mystical, ethical utopia of great natural beauty and its rulers as models of wisdom and power; the memory of Pajajaran inspires modern Sundanese people to maintain a strong Sundanese identity. While the majority of the Sundanese population still lives in rural or semi‐rural settings, large cities and the cosmopolitan culture they nurture have become an increasingly important element of Sundanese lives. Gamelan Degung: The term gamelan refers to matched sets of instruments (primarily tuned bronze percussion instruments) that are unified by appearance, manufacture, tuning, and other characteristics. Each gamelan is unique. The gamelan ensemble known as degung (or gamelan degung) consists of hanging bronze gongs, gong chimes, metallophones, drums, and suling (bamboo flute) tuned to a pentatonic scale.
    [Show full text]
  • Fifty-Seventh National Conference October 30–November 1, 2014 Ritz Carlton St
    Fifty-Seventh National Conference October 30–November 1, 2014 Ritz Carlton St. Louis St. Louis, Missouri PRESENTER & COMPOSER BIOS updated October 25, 2014 Abeles, Harold F. Dr. Harold Abeles is a Professor of Music and Music Education at Teachers College, Columbia University, where he also serves as Co-Director of the Center for Arts Education Research. He has contributed numerous articles, chapters and books to the field of music education. He is the co-author of the Foundations of Music Education and the co-editor, with Professor Lori Custodero, of Critical Issues in Music Education: Contemporary Theory and Practice. Recent chapters by him have appeared in the Handbook of Music Psychology and the New Handbook of Research on Music Teaching and Learning. He was the founding editor of The Music Researchers Exchange, an international music research newsletter begun in 1974. He served as a member of the Executive Committee of the Society for Research in Music Education and has served on the editorial boards of several journals including the Journal of Research in Music Education, Psychomusicology, Dialogue in Instrumental Music Education, Update, and Arts Education Policy Review. His research has focused on a variety of topics including, the evaluation of community-based arts organizations, the assessment of instrumental instruction, the sex- stereotyping of music instruments, the evaluation of applied music instructors, the evaluation of ensemble directors, technology-based music instruction, and verbal communication in studio instruction. Adler, Ayden With a background as a performer, writer, teacher, and administrator, Ayden Adler serves as Senior Vice President and Dean at the New World Symphony, America’s Orchestral Academy.
    [Show full text]
  • Tncis Syllabus Outline
    EAST MEETS WEST: MUSIC OF TURKEY MUSC 4520/MUSC 5525 Course Title: East Meets West: Music of Turkey Course Number: MUSC 4520/5525 Credit Hours: 3 Catalog Course Description: MUSC 4520/5525 Special Topics (3). Independent/directed study course intended to serve students interested in investigations of musical issues and questions outside of those regularly addressed in programmed courses. Individual research on subjects agreed upon by student and professor. How Program Site will be incorporated into the course: Turkey is the place where East meets West in music. Eastern musical scales (makamlar in Turkish) have different numbers of notes and interval distances between notes, when compared with Western (European/Roman-based) musical scales. Only in Turkey is Western musical notation used to express Eastern sounds in music--though the Western notation is adapted by using four symbols for "sharp", four symbols for "flat", and a very different method for expressing time signatures. The study abroad program’s visit to Anatolia, the region that we know as Turkey, will allow American students with "Western eyes and ears" to experience live, authentic Eastern music as they explore the human experience that includes making music and learning about the people and cultures that support this music. The program begins in Istanbul, the Silk Road city with literal bridges connecting Europe and Asia, where the Western world’s culture and music meets the Eastern world. In Istanbul, students’ experiences will include visits to sites that made up part of ancient Constantinople, Byzantium, and the cultural changes that affected the city’s evolving society. Evidence of this culture will be explored through visits to such places as the Hagia Sophia, City Wall, Blue Mosque, and Topkapi Palace, along with experiences in a variety of live East-West mashup forms of music, blending Western Classical and Pop forms with Anatonlia styles into a broader World Music style.
    [Show full text]
  • Teaching and Learning Musical Composition at Universiti Sains Malaysia
    International Journal of Education and Research Vol. 1 No.11 November 2013 Teaching and Learning Musical Composition at Universiti Sains Malaysia Razak Abdul Aziz, PhD Senior Lecturer, Music Department, Universiti Sains Malaysia, 11800, Malaysia Email: [email protected] Phone: 00604 653 3417 and Toh Lai Chee, PhD Senior Lecturer Teacher Education Institute, Bukit Coombe, 11700 Gelugor, Penang, Malaysia Email: [email protected] Abstract This paper discusses the issues involved in the teaching and learning of musical composition in one of the universities in a country which is dominated by various ethnic and religious groups. The discussion warrants an overview of the historical backdrop of Malaysia, its people, heritage, and the resultant types of music. The paper will also trace the aims of music education in schools and in Universiti Sains Malaysia, the role of the Malaysian Philharmonic Orchestra and its outreach program, the effects of Western compositional styles, classical or popular, and the impact of Islamic influences, imported or homegrown, on music making. It will include a brief study of the musical preferences of Malaysian students. Keywords: Teaching and Learning Musical Composition, Ethnicity and Musical Preference, Multicultural Country, Balance between the study of Malaysian and Western music, Open and Liberal Approach towards Learning of Musical Composition Introduction Strategically located in maritime Southeast Asia, present day Malaysia consists of two non- contiguous areas - the Malay Peninsula or West Malaysia which forms part of mainland Southeast Asia has a landmass of 131,573 sq km, while Sabah and Sarawak or East Malaysia which forms part of the Malay Archipelago has a landmass of 198,160 sq km1.
    [Show full text]
  • PM Asks States to Suggest Plan for Staggered End to Lockdown
    follow us: friday, april 3, 2020 Chennai City Edition thehindu.com 18 pages ț ₹5.00 facebook.com/thehindu twitter.com/the_hindu Hurriyat opposes Four countries charter Aurobindo Pharma Amid pandemic, Jammu and Kashmir's Air India !ights to and Novartis call o" Joe Biden sidelined by new domicile laws repatriate their citizens $1-billion Sandoz deal omnipresent Trump page 8 page 10 page 12 page 11 Printed at . Chennai . Coimbatore . Bengaluru . Hyderabad . Madurai . Noida . Visakhapatnam . Thiruvananthapuram . Kochi . Vijayawada . Mangaluru . Tiruchirapalli . Kolkata . Hubballi . Mohali . Malappuram . Mumbai . Tirupati . lucknow . cuttack . patna NEARBY PM asks States to suggest plan CM seeks ₹3,000 crore to for staggered end to lockdown procure equipment ‘Appoint disease surveillance o!cers in all districts, collate data from private labs’ Palaniswami urges PM to increase borrowing limit of States 11.63% cardholders get cash, grain on day one Nistula Hebbar Special Correspondent CHENNAI NEW DELHI Cong. seeks CHENNAI Amid reports of violation of What do you mean by APMC? Prime Minister Narendra Chief Minister Edappadi K. physical distancing norms in more relief Modi, at his second video- Palaniswami on Thursday certain places of the State What are the salient features of the APMC Act? urged Prime Minister Naren- and the alleged involvement conference with Chief Minis- The Congress Working dra Modi to allocate ₹3,000 of members of the ruling ters, on Thursday told them whyCommittee it(CWC) is heldbecoming its redundant now? AIADMK, the distribution of that it was “important to for- !rst-ever virtual meeting crore for procuring personal ₹1,000 cash and free rice, mulate a common exit stra- Whaton Thursday are to discuss it’s the shortcomings?protective equipment (PPE), pulses, edible oil and tegy to ensure staggered re- challenges posed by the N-95 masks and ventilators Heads-up: Chief Minister Edappadi K.
    [Show full text]
  • Corona Warriors
    NEW YORK • WASHINGTON D.C. • CHICAGO • ATLANTA • CALIFORNIA VOL 25, No. 1331 April 10, 2020 50¢ Periodical Postage MESSAGE FROM CORONA WARRIORS PUBLISHER take this opportunity INTIMIDATED-HECKLED-THRASHED Ito thank all my col- leagues in the medical fraternity who are in the forefront in fighting against coronavirus in hos- pitals all over the world. Solidarity and I would also like to gratitude by thank my entire staff at community India Post and the me- dia houses around the Details on page 17 world in informing and disseminating crucial information on Fremont to coronavirus. open COVID-19 India Post being the testing center Voice of Indians World- wide invites all to pledge to fight this evil by stay- Details on page 4 ing at home, washing our A group of residents shouting and chasing away a team comprising health and civic officials in Indore hands frequently, and CAPT KRISHAN SHARMA public wake up and protect them for their own safety. keeping social distance Indian-origin India Post News Service & Agencies Many doctors and healthcare workers in India from each other. virologist in NEW DELHI: It is horrible to see our doctors, nurses, have tested positive and hundreds of them have Regards, South Africa dies health workers, ER personnel and NGOs who have been qurantined all over India. Over 50 people, in- Dr. R K Japra M.D. been harassed and beaten up and denied PPEs cluding doctors and nursing staff of a hospital in Details on page 7 around the world for trying to protect and save us Bikaner alone, have been quarantined after samples from the virus.
    [Show full text]